extreme media and advertisement strategies. However when an expert enters into
these events, he/she can see that the content of the event is not as much satisfying
or as much as valuable as expected. So there is a discrepancy between the visibility
and content. This can be a conflict in these cities. For example in Istanbul, we can
say that the Istanbul Biennial is being promoted excessively but when we enter into
it and look to exhibitions or to the participation of the audience, we see that there
are some insufficiencies.
GENCO GÜLAN: I as well found the opportunity to work in the period prior to the
Thessaloniki Biennial. I worked together with the team of Magda Carneci in the
“Cosmopolis Biennial”; I was a member of the Advisory Board. First of all, I must say
that I don’t quite agree with Ms. Madra’s comparison between Sinop and
Thessaloniki, for Thessaloniki is a city that has a solid infrastructure. It has two
museums, a very powerful photography gallery and an important academy. Despite
all these, the Thessaloniki Museum, before launching the “Cosmopolis Biennial”,
invited artists and art managers from the Balkans and established a big Advisory
Board, the meetings of which went on for 2-3 years. This is also underlining the
relationship between local and global. They tried to work with the local and gave
start to a Balkan Biennial. Interestingly enough, this Balkan Biennial “Cosmopolis I”
didn’t reach continuity and trying to be local, transformed into the Thessaloniki
Biennial, that is to say a city biennial.
SESSION 1 / 1. OTURUM / DISCUSSION / TARTIfiMA 57
buldum ve daha önce Cosmopolis Bienali’nde Magda Carneci’nin ekibinde çal›flt›m,
Dan›flma Kurulu’nda yer ald›m. Öncelikle Sn. Madra’n›n Sinop-Selanik benzetmesine
çok kat›ld›currency1›m› söyleyemeyececurrency1im. Zira Selanik ciddi bir altyap›s› olan bir flehir. ‹ki
tane müzesi var, çok güçlü bir fotocurrency1raf galerisi, önemli bir akademisi var. Tüm
bunlara racurrency1men Cosmopolis Bienali’ni bafllatmadan önce Selanik Müzesi
Balkanlar’dan sanatç›lar ve sanat yöneticilerini çacurrency1›rarak büyük bir dan›flma kurulu
oluflturdu ve dan›flma toplant›lar›m›z 2-3 sene sürdü. Bu da lokal-global iliflkisinin
alt›n› çizmekte. Lokalle çal›flmaya çal›fl›ld› ve bir Balkan bienali bafllat›ld›. ‹lginçtir ki
bu Balkan Bienali “Cosmopolis I” devam edemedi ve bir Selanik Bienali’ne yani flehir
bienaline dönüfltü, yerel olmaya çal›flt›.
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